Class B F g ^ \ 
 
 Book _____ 
 
 GpightN?. . 
 
 COraBIGHT DEPOSIT. 
 
GRAPHOLOGY ^ 
 
 36?U 
 
 OR 
 
 How to Read Character from Handwriting 
 
 BY 
 
 SIMON ARKE 
 
 American Institute of Graphology 
 
 305 Lenman Building 
 Washington, D. C. 
 
.<* 
 
 X ^ 
 
 THE LIBRARY 9F 
 CONGRESS, 
 
 Two Copies Received 
 
 MAR 18 1903 
 
 Copyright Entry 
 
 CLASS a >0<c. No. 
 
 COPY B. 
 
 Copyright, 1903, by Mills Dean 
 All Rights Reserved 
 
 
PREFACE 
 
 (^ RAPHOLOGY is the art of reading character from handwriting. That 
 there is a relationship between a person's character and his style of 
 penmanship has long been recognized, but until recently little has been 
 done to formulate the principles upon which this relationship is based. 
 Enough has now been accomplished in this direction, however, to make 
 it possible to lay down definite rules for determining a person's disposi- 
 tion, aptitude and nature by the peculiarities of his handwriting. 
 
 As a matter of pastime the author took up a study of this interesting 
 subject several years ago. Finding it so full of entertainment and use- 
 fulness and realizing that there exists at present no popular treatise on 
 the subject, notwithstanding the widespread interest and curiosity in- 
 variably aroused by an exhibition of ability to read character from hand- 
 writing, he has gathered together the results of his studies and experience, 
 in the hope that the information here set forth may serve as a source of 
 entertainment to the general reader and as a means of aiding those who 
 desire to acquire a practical knowledge of graphology. 
 
 For the convenience of the student, the instructions are printed on one 
 side of the page only. This allows the alternate pages to be used for 
 inserting specimens of handwriting and for making such notes as the 
 student may find helpful in his studies. S. A. 
 
 Washington, D. C, 1903. 
 
INTRODUCTION 
 
 VKZHEN we receive a letter from a friend it is not necessary to open it 
 in order to know from whom it comes. A glance at the address on 
 the envelope is sufficient. The style of the handwriting tells us at once 
 who the writer is. We recognize him by his penmanship as readily as we 
 would by his voice. 
 
 This shows us very convincingly that there must be some sort of rela- 
 tionship between the style of handwriting and the personality of the writer. 
 Another familiar evidence of this is the fact that no two persons write 
 exactly alike, notwithstanding that hundreds of thousands of us learned to 
 write from the same copybooks and were taught to form our letters in 
 precisely the same way. 
 
 Now, if handwriting bore no relationship to personality and was not 
 influenced by the character of the individual, we would all be writing the 
 beautiful Spencerian copperplate we were taught in our school days. But, 
 as it is, not one in fifty thousand writes in this manner five years after 
 leaving school. 
 
 Each one of us has modified the copybook style in accordance with his 
 individual character. Each one has unconsciously adopted a style of hand- 
 writing that is best suited to his tastes and inclinations, and has conse- 
 quently given to it a distinctive character. 
 
 Like speech or gesture, handwriting serves as a means for the expression 
 of thought ; and in expressing our thoughts we give expression to our- 
 selves. When once the art of writing is learned we are no longer conscious 
 of the mental and manual effort required to form the letters. It becomes 
 as it were a second nature to us. We do it mechanically, just as we form 
 our words when talking, without realizing the complex processes of mind 
 and muscle that it involves. 
 
 It is plain, therefore, that a person's handwriting, or chirography, is 
 
8 GRAPHOLOGY. 
 
 % really a part of himself. It is an expression of his personality and is as 
 characteristic of him as is his gait or his tone of voice. 
 
 How many persons are there who are able to answer off-hand the follow 
 ing questions regarding their own chirography ? 
 
 Do you close your a's and o's at the top or leave them open ? 
 
 Do you end the final letter of a word abruptly, or do you add a final 
 stroke ? 
 
 If you use terminal strokes to your final letters, do these strokes ascend, 
 descend or extend in a straight line ? 
 
 Do the letters of a word remain uniform in size throughout the word, or 
 do they diminish or increase toward the end of the word ? 
 
 Unless a person has made it a point to analyze his writing, there is not 
 one in a thousand who is able to answer the foregoing questions. In order 
 to do -so he will be obliged first to examine some of his own writing. 
 And these are but a few of a score of questions that might be asked in 
 reference to the characteristics of handwriting about which the average per- 
 son is entirely ignorant. This goes to show very plainly that many of the 
 constituent features of a handwriting have been unconsciously adopted ; and 
 although they may appear insignificant in themselves they are nevertheless 
 all very significant as indications of the writer's personality, and are some 
 of the most important guides in the reading of character. 
 
 Unless, as just stated, a person has made it a point to study his penman- 
 ship, he knows really very little about it beyond its general appearance. 
 It is for this reason that handwriting experts are able to detect forgeries 
 and disguised writings. 
 
 When a man attempts to change his style of handwriting he simply alters 
 the principal features of it. If his writing normally slopes to the right, he 
 will probably adopt a backhand. He may also use a different kind of 
 pen ; may change the size of the writing, alter the customary formation of 
 certain letters, and add certain unfamiliar flourishes. But knowing nothing 
 about the many minor characteristics of his natural writing he unconsciously 
 repeats them, notwithstanding his best efforts to veil the identity of his 
 
GRAPHOLOGY. V 
 
 chirography. In this respect he resembles the actor, who, while he may 
 assume all the outward characteristics of another individual, still retains 
 certain personal peculiarities of which he is himself unaware and which 
 render it impossible for him to completely disguise his own individuality. 
 
 There are some who believe that difference in handwritings is largely due 
 to difference in styles of pens. It is true that pens have much to do with 
 the appearance of the chirography, but the choice of a pen is one of the 
 elements involved in the individuality of handwriting. 
 
 Each one of us chooses a style of pen that best suits him, and hence it 
 allows him to write in the manner that is most natural to him. But it is a 
 mistake to suppose that it is the pen that determines the peculiarities of a 
 handwriting. It may be awkward for a person who is accustomed to a 
 stub pen to use a fine-pointed pen, but it will not alter the distinguishing 
 characteristics of his chirograpny any more than it destroys his personality 
 to wear a suit of clothes that does not fit him. 
 
 There are also many who claim that their writing is changeable ; that 
 they never write twice alike. This is true to a certain limited extent. 
 Probably no one can produce three specimens of his own signature that are 
 absolute facsimiles. But the differences are purely superficial. 
 
 The style of handwriting varies no more from day to day than does the 
 outward appearance of the individual. A change of emotion will produce 
 a corresponding change in the expression of the face. A different style of 
 hat, a change in the mode of wearing the hair, the shaving off of a beard 
 or any alteration of a like character will produce its effect, but the indi- 
 viduality of the person is not affected thereby. In a similar manner our 
 penmanship is superficially modified by our feelings, our physical condition, 
 by the kind of ink we use, the style of pen, the kind of paper, etc., but its 
 individuality remains unaltered. 
 
 Of course, the style of handwriting does not in every case remain the 
 same throughout the entire life of a man or woman. A person at fifty may 
 not write the same hand that he did when he was eighteen or twenty, and 
 if he lives to be eighty or ninety it will in all probability show further indi- 
 
10 GKAPHOLOGY. 
 
 cations of change. This fact only emphasizes the relationship between 
 chirography and personality ; for it will always be found that where there 
 is a change in the style of penmanship there is a corresponding change in 
 the person himself. Very few of us retain the same character, disposition 
 and nature that we had in youth. Experience and vicissitudes do much to 
 modify our natures, and with such modifications come alterations in our 7 
 handwriting. In some persons the change is very slight, while in others 
 it is noticeably evident. 
 
 Without pursuing the subject farther it must be evident to every thought- 
 ful mind that handwriting does bear a very close and definite relationship 
 to the personality of the writer. We see that everyone has a style of chi- 
 rography peculiar to himself, and it is only reasonable to suppose that each 
 feature of his writing reflects some personal trait or tendency ; otherwise, 
 why is there such a variety of features in handwritings ? What would cause 
 these various distinguishing characteristics of penmanship if it is not the 
 individuality of the writers themselves ? 
 
 But aside from all argument or speculation, it is only necessary to add 
 that careful and scientific investigation has conclusively shown that there is 
 a direct correspondence between the various features of a handwriting and 
 the character of the penman. It has clearly demonstrated that one's nature 
 and disposition may be accurately determined by his chirography. 
 
 The studies and investigations of the author, in conjunction with those of 
 other students of the subject, have revealed the fact that every feature of a 
 handwriting is indicative of some particular personal characteristic, and it 
 is the object of this volume to point out these relationships ; to show the 
 characteristic features of handwritings and their corresponding personal 
 indications, and, generally, to present the subject in such form as to make 
 it readily possible for anyone to demonstrate to his own satisfaction the 
 relationship of character to chirography. 
 
PART I 
 
GENERAL FEATURES 
 
 Handwriting Considered as a Whole— Personal Characteristics 
 Indicated by the Various Styles of Penmanship 
 
 We find that all handwritings may be divided into two general classes : 
 The Angular and the Rounded. 
 
 In the Angular handwriting the letters are all more or less pointed. 
 They are sharply formed. Their general appearance is that of straight 
 lines and angles. There is a general absence of curves or rounded for- 
 mations. 
 
 In the Rounded hand the letters are formed for the most part of 
 curved lines. The writing presents a general rounded form. There is an 
 absence of straight lines and angles. 
 
 (J) THE ANGULAR HAND. 
 
 (Plates 1 and 7.) 
 
 Angular writing always indicates activity. It is associated with 
 nervous, quick and energetic dispositions. It betokens a person of men- 
 tal acuteness and physical restlessness. 
 
 Writers of an angular hand are natural workers. They are not con- 
 tent unless their brains or hands are busy. 
 
 They are apt to be emphatic, precise, positive and aggressive. 
 
GRAPHOLOGY. 15 
 
 (2) THE ROUNDED HAND. 
 
 (Plates 2, 4, &c.) 
 
 In general, the qualities represented by the Rounded hand are the op- 
 posite of those shown in the Angular hand. 
 
 Writers of a rounded hand are fond of the pleasures, the beauties, the 
 comforts, the luxuries of the world. Work for work's sake does not ap- 
 peal to them. They are lovers of peace, rest and enjoyment. Their 
 natures are more or less passive. As a rule, they are loving, benevolent 
 and kind-hearted. 
 
 It must, of course, be borne in mind that these are merely the general 
 characteristics indicated by these two broad classes of penmanship. They 
 are subject to modification by other important features, as will be shown 
 later on ; so that these two general divisions should be regarded, not so 
 much as specific indications, but rather as broad foundations on which 
 to build character delineations. 
 
 A second division of handwritings is that which is determined by the 
 slope of the letters. In this division there are three styles of penman- 
 ship, viz: 
 
 (a) The Forward Hand, or writing that slopes to the right. \f 
 
 (b) The Vertical Hand. 
 
 (c) The Back Hand, or writing that slopes to the left. 
 
 (3) THE FORWARD HAND. 
 
 (Plates 1, 2, 3, &c.) 
 
 In its broad and general significance the Forward hand indicates a 
 nature in which the emotions, the feelings, constitute the governing ele- 
 
GKAPHOLOGY. 1 7 
 
 ment. It shows susceptibility to sentiment. The writer of a forward 
 hand is inclined to be guided by his impulses. 
 
 The more the writing slopes to the right the more predominant are the 
 emotions and impulses as controlling factors. 
 
 Where the slope is very marked (see Plate 3) the writer is governed 
 almost wholly by her sympathies and feelings. Such a writer is ex- 
 tremely affectionate, kind and sympathetic; generous and self-sacrific- 
 ing; apt to be impulsive, animated and demonstrative; capable of in- 
 tense love and passion ; easily pleased ; readily stirred to enthusiasm. 
 
 (4) THE VERTICAL HAND, 
 
 (Plate 4.) 
 
 The writers of this style are more evenly balanced in their tempera- 
 ment than the writers of the Forward hand. Their natures are calmer, 
 more deliberate. Judgment and reason enter into their motives to a 
 greater extent than in the case of those who s]ope their letters to the 
 right. They seldom allow sentiment to hold sway. It is tempered 
 with self-restraint and deliberation. They do not like to be hurried, 
 and they find it difficult to make up their minds quickly. 
 
 When this style of writing is Rounded and well formed, as shown in 
 Plate 4, it indicates simplicity of taste; deliberateness of thought and 
 speech, and natural calmness. The writers of such a hand are apt to 
 talk slowly, and to act with deliberation. Their affections are not very 
 intense, though they are constant and true. Such writers take a practi- 
 cal, common-sense view of life and are not readily disturbed in their 
 purposes. 
 
 In the signature of Longfellow (see Plate 14), we find this style of 
 
GRAPHOLOGY. 19 
 
 hand — vertical and rounded; indicating a deliberate, dignified indivi- 
 dual ; a lover of the beautiful ; a person of careful habits and simple 
 tastes ; a man of self-control and balance. These are the very traits we 
 would naturally look for in this poet, to judge him solely from his 
 works. There is a calmness, a finish, a clearness about his work that 
 contrasts strongly, for example, with the impetuous and rugged style of 
 Browning, who, as we see by his signature (Plate 14), wrote an Angu- 
 lar, Forward hand. 
 
 (5) THE BACK HAND. 
 
 (Plate 5.) 
 
 Eeason and self-interest control the motives and the conduct of the 
 writers of a Back-hand style of penmanship. While sentiment is not 
 lacking in these writers, it is rarely allowed to govern their actions, if 
 it is likely to interfere with their comfort or their interests. 
 
 Back-hand writers are natural schemers and reasoners. Their per- 
 sonal interests come first in the decision of all questions. Their sym- 
 pathies are held in check. They are self -conscious. They do not often 
 have any lasting and deep regard for others. They are apt to be in- 
 sincere and artful. 
 
 As a rule, they are persons of ability, originality and much self-reli- 
 ance. This latter characteristic is frequently very strongly marked. 
 They are inclined to be unorthodox in their beliefs and are seldom en- 
 thusiastic or deeply interested in the general affairs of the world. With 
 them charity begins at home, and they are always at home. 
 
 The size of the handwriting is another important feature. This, of 
 course, embraces a great range of styles, from the microscopic to the gi- 
 
GRAPHOLOGY. 21 
 
 gantic ; but by dividing the styles into Small and Large writing we shall 
 be able to gain an approximate estimate of their values. 
 
 (6) SMALL WRITING. 
 
 (Plate 6.) 
 
 The specimen given in Plate 6 will indicate what is here meant by \S 
 small writing, as compared with the average medium-sized writing. 
 
 Small, neat writing indicates, as a rule, intellectuality, good reasoning 
 powers and originality of ideas. It indicates, also, mental culture and 
 delicacy of thought. 
 
 The writers of small hands have good powers of concentration, both 
 mental and physical; are capable of much brain work and can endure 
 a large amount of fatigue. They have force of character. Their men- 
 tal capacity is above the average and their general abilities are corres- 
 pondingly pronounced. They are apt to be self-contained and patient ; 
 making but little public display of their feelings. 
 
 Many literary people, scholars, statesmen and persons of mental re- 
 finement generally, write small hands. No person of ordinary intellec- 
 tual qualities ever writes a very small hand. 
 
 If the writing, in addition to being small, is well formed and even, it 
 indicates a person of methodical ways ; neat, self-reliant and thorough. 
 
 Where the writing is very small and where the words are written close 
 together, giving the writing a compact, crowded appearance, it shows 
 cunning and suspicion. But the cunning of such a writer is always that 
 of the diplomat. What would be deceit and treachery in a person of 
 less cultured mentality, is with this writer finesse and diplomacy. He 
 is wary and alert; difficult to convict; clever at plausible arguments, 
 and always careful to provide a loophole for escape from any dilemma. 
 
GRAPHOLOGY. 23 
 
 (7) LARGE WRITING* 
 
 (Plates 7 and 10.) 
 
 If the writing is above the average in size it signifies, generally, a per- 
 son who is devoted more to the practical, material affairs of a life than 
 to the intellectual or spiritual.. 
 
 Such persons are inclined to be outspoken, and possess but little tact. 
 They express their feelings readily. Their natures are close to the sur- 
 face and are easily seen, for they make little effort to conceal their opin- 
 ions or emotions. They have but slight power of concentration. Their 
 thoughts are diffuse and fly readily from one subject to another. 
 
 Nearly all those who write large hands are vain or egotistical and sel- 
 fish. This is particularly so if the writing abounds in flourishes or much 
 shading. 
 
 If the writing is angular, as in plate 7, it shows ardor, zeal and en- 
 thusiasm. Such a writer becomes readily animated. / 
 
 (3) HEAVY WRITING. 
 
 (Plates 8 and 12.) 
 
 Writing that is formed of thick, black strokes or is heavily shaded J 
 throughout is indicative of assurance and aggressiveness and a general 
 lack of delicacy. This feature is usually found in writing that is above 
 the average in size. 
 
 Where it occurs in a man's writing it signifies, also, roughness and 
 boldness of manner ; while in a feminine hand these traits show them- 
 selves in the form of a domineering and exacting disposition. 
 
 / 
 
GKAPIIOLOGY. 25 
 
 Such writers have strong passions. Their desires and their appe- 
 tites are confined almost wholly to the gross and the material. Educa- 
 tion and circumstances may do much to hide or modify these qualities, 
 especially in the case of women ; but it may always be taken for granted 
 that a heavy, coarse writing, especially when it is large, is an indica- 
 tion of an unrefined nature. 
 
 Persons who write in this way are always selfish and conceited and 
 have but little regard for the feelings of others. They are apt to be de- 
 ceitful and revengeful, and are usually great braggarts. 
 
 (9) SHADED WRITING* 
 
 (Plates 7, 10, 11.) 
 
 Shaded writing differs from heavy writing in the fact that the latter 
 is formed of heavy, thick or blurred strokes throughout, as in plates 8 
 and 12 ; while in shaded writing the heavy strokes occur only at inter- 
 vals. 
 
 Sometimes the shading is done for effect, as in plate 10 ; in which 
 case it betokens affectation and egotism; lack of individuality. In 
 other instances, it shows itself particularly in tne cross of the t and in 
 the terminal strokes of certain letters, as in plates 7 and 11. This in- 
 dicates an insistent nature, and it shows also natural executive ability, 
 coupled with a fondness and appreciation of physical pleasures. Those 
 whose writing contains this feature are likely to be fond of luxury and 
 good living in their homes. 
 
 (to) FINE WRITING. 
 
 (Plates 3, 4 and 9.) 
 When the writing is composed of fine, delicate strokes, or where there 
 
 v/ 
 
GRAPHOLOGY. 27 
 
 is a marked absence of shading or pressure on the pen, it signifies tender- 
 ness, delicacy and simplicity. 
 
 Persons whose writing is of this kind have plain, unaffected tastes. 
 They care little for the voluptuous pleasures or the luxuries of life. 
 They have refined, delicate sensibilities ; are temperate in their habits, 
 and are usually quiet and unobtrusive. 
 
 Having considered the various general forms of handwriting, we come 
 now to a consideration of handwriting in its general appearance. 
 
 (U) CONVENTIONAL WRITING. 
 
 (Plate 10.) 
 
 The more nearly a handwriting approaches the conventional, copy- 
 book standard, the more commonplace is the character of the writer. 
 
 The man or woman who writes a so-called "copper-plate" hand, or 
 who indulges in any affected style of writing, is lacking in individuality. 
 Such a person has no distinctive character. His ideas and his capaci- 
 ties are limited. He possesses but little, if any, originality. He is 
 merely a copyist, an imitator, bound by rules and conventionalities. 
 For this reason he is apt to be affected ; and to lay great stress on trifling 
 matters of form and style. 
 
 As a rule, such a writer is much impressed with his own importance. 
 He is inclined to be opinionated, and to magnify the importance of any 
 undertaking in which he may be engaged. He has an excellent opinion 
 of his abilities and regards himself with much complacency. 
 
 These egotistical qualities are more noticeable in such persons whose 
 penmanship abounds in flourishes or ornamentations. 
 
GRAPHOLOGY. 
 
 29 
 
 Clerks, teachers, bookkeepers — all whose life is devoted to routine 
 duties calling for strict adherence to rules — are apt to write more or 
 less conventional styles of penmanship. 
 
 (12) UNAFFECTED WRITING. 
 
 (Plate 9.) 
 
 The opposite of the conventional writing is the plain, unaffected, so- 
 called "School-hoy" hand. ~No hand displays better and finer qualities 
 than this. It is inartistic and ofttimes awkward, yet always legible and 
 clear. Here we have modesty, frankness, truthfulness and sincerity in 
 the writer. He is unassuming, honest and trustworthy, and guided 
 always by motives of integrity. 
 
 03) NEAT, UNIFORM WRITING. 
 
 (Plate 6.) 
 
 Writing that is neat and uniform in its general appearance or where \^ 
 the letters are carefully and distinctly formed (Plate 1), is always an in- 
 dication of corresponding neatness, precision and carefulness on the 
 part of the writer. It signifies an orderly, tactful, methodical, painstak- 
 ing, well-balanced character. Such a writer is thrifty, prudent and 
 economical, is a good manager and organizer. 
 
 04) CARELESS AND UNEVEN WRITING. 
 
 (Plates 9 and 13.) 
 
 Where the writing simply shows a lack of precision in its formation, 
 or a general unevenness, as in plate 9, it betokens a greater or less de- 
 
GKAPHOLOGY. 31 
 
 gree of carelessness on the part of the writer. He is not apt to be very 
 methodical or systematic. 
 
 Straggling and untidy penmanship, in which there is a general lack 
 of uniformity, as in plate 13, indicates a weak, vacillating character; an 
 absence of judgment, method, or thoughtfulness. The writer has but lit- 
 tle self-control ; is apt to be flighty, and to lack poise and mental balance. 
 
 (15) HASTY AND INDISTINCT WRITING* 
 
 (Plates 3 and 11.) 
 
 A hasty and indistinct writing, where many of the words contain let- 
 ters that are simply unformed strokes, as in plate 11, indicates much 
 quickness, hastiness, impatience, vivacity and a lack of ability to con- 
 form to set rules or to engage in any routine, hum-drum work, while dis- 
 simulation and artfulness are always present in one form or another. 
 
 This kind of hasty writing must not, however, be confused with that 
 as shown in plate 3. Here, it will be seen, the writer has not neglected 
 to form her letters and has not slurred them over as in plate 11, but the 
 indistinctness of the writing consists in the fact that the writer fails to 
 distinguish one letter from another. This is an indication of haste and 
 impulsiveness; a desire to do things according to the writer's own no- 
 tions, without regard to rule. Such a writer usually lacks the ability 
 for practical work. There is lacking the necessary patience to follow 
 directions and to remain steadily at any one task. But this kind of 
 writing does not indicate diplomacy, dissimulation, finesse, &c, as in 
 the case of the other specimen of indistinct writing — plate 11. 
 
GRAPHOLOGY. 33 
 
 (16) CROWDED WRITING. 
 
 (Plate 13.) 
 
 Where the words and lines are crowded well together and where the 
 writing has the appearance of being crowded on the page, it shows a 
 saving disposition. The writer is apt to worry about little things; is 
 apt to be close, and to take narrow, pessimistic views of life. 
 
 Where the letters of the words are also crowded close together (which 
 they are not in the specimen given) it shows selfishness, parsimony and 
 suspiciousness, as well as secretiveness. Such writers are close-fisted 
 They expect much and give little. 
 
 7) DIFFUSE WRITING. 
 
 (Plates 2 and 7. ) 
 
 If the writing is well spread out, with ample spaces between the words 
 and between the lines, so that comparatively few words are placed on a 
 page, it is an indication of generosity or extravagance^ 
 
 Those who write in this way find it difficult to save. They are not 
 naturally economical or prudent. They are impatient of restraint and 
 do not give themselves undue concern over th& petty details of life. They 
 do things in a hurry — they want to get through with them — and are 
 therefore apt to be hasty and careless. 
 
 This style of diffuse writing must not be confounded with that in 
 which the letters of the words are spread out, giving the writing a loose, 
 straggling appearance. This indicates slovenliness or mental weakness, 
 according to the other features of the writing, Weak-minded persons 
 
GRAPHOLOGY. 35 
 
 as a rule spread out their words loosely. This is characteristic of the 
 writing of lunatics. 
 
 Another point to be considered in connection with the general fea- 
 tures of handwriting, is the direction of the lines. 
 
 When writing is on unruled paper the lines will be either straight 
 across the page or they will slope toward the upper right-hand corner or 
 toward the lower right-hand corner. Each of these directions of writing 
 has its significance. 
 
 (18) STRAIGHT LINES, 
 
 (Plates 1, 3, 6, &c.) 
 
 When the writing is in straight, even lines it shows perseverance and 
 will power, and more or less firmness of character. 
 
 If this feature occurs with neat, distinct writing it betokens a practi- 
 cal, methodical individual; one careful of detail, and systematic. 
 
 (19) ASCENDING LINES. 
 
 (Plate 11.) 
 
 If the lines have a tendency to run up hill it signifies an ambitious 
 person ; one who is hopeful, not easily discouraged ; someone of a general 
 buoyant, optimistic nature. This is especially so if the writing is 
 Rounded. 
 
 When the upward inclination is very marked it shows exaggerated 
 ambition. Such writers are more ambitious than practical. They are 
 likely to be visionary and to have extravagant aspirations. 
 
GRAPHOLOGY. 37 
 
 (20) DESCENDING LINES. 
 
 (Plate 13.) 
 
 Writing that has a tendency to droop toward the lower right-hand 
 corner indicates, generally, lack of initiative or lack of active ambition. 
 Where there is a decided downward slope we may take it for granted 
 that the writer is apt to be pessimistic, easily discouraged, inclined to 
 fret and worry and to be subject to morbid prejudices. His ambitions 
 are spasmodic and half-hearted. He is apt to be suspicious and to take 
 uncharitable views of his neighbors and their motives. 
 
 It sometimes happens that the writing of those who usually write in 
 straight lines will be found to show a downward tendency. This is al- 
 ways a sign of depression or ill health ; lack of mental power. It is next 
 to impossible for one who is mentally depressed to write in a straight 
 line. 
 
PART II 
 
SPECIAL FEATURES 
 
 Handwriting Considered in Relation to Individual Letters, &c. 
 
 Personal Characteristics Indicated by the Various 
 
 Details of Chirography 
 
 Aside from its general features every handwriting possesses certain 
 special features that are of great importance from the standpoint of 
 graphology. For the most part these special features pertain to the 
 manner of forming the individual letters of the alphabet and to the 
 manner in which the words are constructed. 
 
 We will consider first the peculiarities embraced in the last-named 
 classification ; that is, the manner of placing the letters together to form 
 words. 
 
 Upon comparing a number of specimens of handwriting it will be 
 found that in some of them the letters of each word are well joined to- 
 gether, while in others the letters are frequently separated. We have, 
 therefore, under the heading of this special feature, two classes of hand- 
 writing: Connected Letters and Disconnected Letters. 
 
 (2J) CONNECTED LETTERS. 
 
 (Plate 8.) 
 
 Where the letters of a word are well joined — that is, where each word 
 is written without taking the pen from the paper — we have the writing 
 
GRAPHOLOGY. 43 
 
 of a careful, practical individual. Such a person is a natural reasoner. 
 He. takes very little for granted. He depends more largely upon his 
 judgment than upon his instinct or intuition. He requires time to make 
 up his mind. 
 
 These qualities are more markedly exhibited when the writer joins his / 
 words together as well as his letters, as in the example referred to (Plate 
 8 ) . This indicates extreme argumentativeness ; great tenacity of opin- 
 ion and a tendency to question the statements and opinions of others. 
 Such a writer accepts nothing on faith. He is sceptical of whatever he 
 does not understand. He must know the why and the wherefore. He 
 believes nothing unless it is proved according to his ideas of reason and 
 logic. 
 
 This feature is characteristic of lawyers and of shrewd, practical busi- 
 ness men. 
 
 (22) DISCONNECTED LETTERS- 
 
 (Plate 7.) 
 
 This feature is more often found in the handwritings of women than 
 oi men. There are comparatively few women that write every word 
 with a continuous stroke of the pen. To a greater or less extent the let- 
 ters of their words are unjoined. This does not mean that every letter 
 stands alone, but simply that here and there the words will be found 
 broken, due to failure to unite certain of the letters. This tendency to 
 leave letters unjoined most frequently manifests itself in the failure to 
 join a Capital letter with the rest of the word. 
 
 A handwriting that shows this peculiarity to separate the letters of a j/ 
 word invariably indicates intuition. The writers are apt to jump at 
 conclusions. They make up their minds quickly. They are quick of 
 
GRAPHOLOGY. 45 
 
 comprehension, observant and critical. They are apt to be good judges 
 of character. They are guided more by their impressions and by their 
 intuition than by reason or judgment. They are nimble-witted, and 
 have good insight. Their beliefs and opinions are based upon faith 
 rather than upon logic. For that reason they are not fond of argument. 
 They are satisfied with their beliefs and do not care to have to fortify 
 them or uphold them with reasons. Such persons are therefore natural- 
 ly religious. They are ready to accept as true whatever appeals to their 
 sentiment or ideals. They grasp problems quickly, because they jump 
 from the premises to the conclusion at once; leaving their reasoning 
 neighbors far in the lurch. 
 
 Where the separation of letters is very marked (see signature of Os- 
 car Wilde, plate 14), the qualities just named are accentuated. Such 
 writers are apt to be idealists. Their intuitions are the dominant con- 
 trolling force of their acts. They are guided almost wholly by their ^/ 
 imaginations and sub-conscious self. Students of occult phenomena 
 often write in this manner, and it is characteristic of persons gifted 
 with psychic powers — mind-reading, mediumship, clairvoyance, &c. 
 
 Separation of letters is a distinguishing characteristic of artists, poets, 
 musicians and of all those whose work is largely inspirational or de- 
 pendent upon the psychic and intuitive faculties. 
 
 (23) INCREASING SIZE OF LETTERS. 
 
 (Plate 1.) 
 
 A careful analysis of a handwriting will sometimes show that letters 
 increase in size toward the end of a word ; that is, the last letter is larger 
 than the first. This is not very often found ; but when it is, it may be 
 
We come now to a consideration of the peculiarities exhibited in the 
 formation of the individual letters of the alphabet. 
 
 Insignificant as it may appear, it is nevertheless true that the manner 
 of dotting an i or stroking a t, or the particular manner of making any 
 letter, has a very decided bearing upon the character of the writer and 
 may be made to tell us much concerning his nature or disposition. 
 
 GRAPHOLOGY. 47 
 
 unhesitatingly relied upon as a sign of truthfulness, conscientiousness 
 
 and honesty. In fact, such a writer is apt to be over-conscientious. For v 
 
 fear of shirking his duty he will do more than is required of him. He 
 
 can always be depended upon to tell the truth. He is honest to a fault, 
 
 and will allow nothing to swerve him from his strict ideals of duty and w *. 
 
 propriety. 
 
 (24) DECREASING SIZE OF LETTERS. 
 
 (Plates 11 and 12.) 
 
 When the letters of a word decrease in size toward the end, so as to 
 give a word the appearance of tapering off, it is an indication of lack of 
 frankness. Those persons whose writing exhibits this peculiarity are 
 not always sincere, and while they may have high ideals of right and 
 duty they do not feel themselves bound by them. They are willing to 
 waive a point for the sake of attaining a desired end, or as a matter of 
 policy. For this reason such writers are naturally diplomatic, selfish 
 and unreliable, and are often difficult to understand. 
 
 When this feature is very marked, so that the final letter of a word is 
 scarcely more than a horizontal stroke, it is a sign of a scheming nature 
 in which cunning and prevarication play a part whenever needed. 
 
 ^ 
 
GRAPHOLOGY. 49 
 
 (25) CAPITAL LETTERS. 
 
 The capital letters will be considered collectively, preparatory to tak- 
 ing up the small letters individually. 
 
 (26) It may be stated as a general rule, that the more simply the 
 capitals are made the more does it show taste, refinement, modesty and 
 simplicity. Persons of quiet, artistic temperaments nearly always form 
 their capital letters modestly and with great simplicity, as we see in the 
 signature of Longfellow (Plate 14) ; and where the capitals are small 
 as compared with the small letters (see Browning's signature, Plate 
 14), it is always an indication of artistic refinement and ability. Many 
 literary men and men of genius use simply enlarged small letters for 
 their capitals, or form them very much after the pattern of printed let- 
 ters — see plate 6. 
 
 (27) When the capitals are much larger than the other letters it 
 signifies pride and love of display. 
 
 (28) Ornamentation, flourishes and fancy strokes in the formation 
 of capital letters betoken conceit, affectation, lack of culture, and medi- 
 ocre talents. The more conspicuous the capitals the more insignificant 
 the writer. 
 
 (29) When the initial stroke of a capital cuts across the body of 
 the letter, as in the letter B ("Believe") in plate 7, and the letters M and 
 I in plate 12, it invariably indicates conceit or egotism. This feature is 
 most frequently found in capital M and N, and may be regarded as an 
 unfailing sign of the trait just mentioned. 
 
 (30) If the first stroke of the capital M or N is decidedly higher 
 than the others (see plate 4), it signifies a person who is ambi- 
 
GRAPHOLOGY. 51 
 
 tious for the success or welfare of those dear to them. It is an indica- 
 tion of pride in others, as that of a mother in her child or of a wife in 
 her husband. So far as they are personally concerned such writers are 
 rarely proud or very ambitious. 
 
 (31) THE SMALL LETTERS. 
 
 Although there does not appear to be much opportunity for any mark- 
 ed difference in the formation of the individual letters, for each one must 
 necessarily be made according to a general standard, yet there is never- 
 theless a sufficient difference to enable us to draw some very clear dis- 
 tinctions between the letters of one writer and those of another. 
 
 Nearly every letter of the alphabet has its special significance accord- 
 ing to the way it is made. For all practical purposes, however, it will 
 be necessary to consider only those that are of most importance, and in 
 this connection it will be seen that a number of them serve as types for 
 others ; for what is true of a certain letter will be equally true of another 
 that has the same general formation, as g and y, m and n, &c. 
 
 (32) A. 
 (The following remarks apply also to the letter o.) 
 
 The significance of this letter lies in the fact of its being either closed 
 or left open at the top. 
 
 (33) In plate 8 we have an example of writing in which the a's and 
 o's are all carefully and tightly closed. This signifies reserve, lack of 
 frankness, and the ability to keep one's own counsel. As a rule, this 
 feature indicates, also, tactfulness and discretion. 
 
GRAPHOLOGY. 53 
 
 When these letters are closed with a loop, as in plate 5, it betokens 
 seeretiveness and a very reserved, uncommunicative nature. Such a 
 writer has but few confidants* 
 
 (34) Failure to close the a's and o's is shown in plates 3 and 11. 
 This feature signifies, in general, a frank, outspoken person; one who 
 does not hesitate to express his feelings or opinions. It is difficult for 
 such a person to keep a secret. His tendency is to take others into his 
 confidence. He is seldom reserved, but, on the contrary, is inclined to 
 be communicative and his remarks are often ill-timed or indiscreet, for 
 he possesses but little tact. 
 
 (35) B* 
 
 (The following remarks apply also to the letters h, k, 1 and t.) 
 
 (36) When the initial stroke cuts across the body of the letter, as in 
 plate 7 (the word "be") it signifies conceit, 
 
 (37) Where the b is formed with a hook on the left hand side, as in 
 the word "be" in the eighth line of plate 3, and the word "bring" in the 
 seventh line of plate 11, it is a sign of talkativeness. The writer is 
 fond of conversation, and, given the opportunity, always has much to 
 say and is generally a rapid talker. 
 
 (38) Where the two strokes that form the body of the letter (that is, 
 the loop) are merged together so as to form but a single straight stroke 
 (Plate 6), it is a sign of a practical, level-headed individual. It de- 
 notes, also, conciseness*. 
 
 (39) D, 
 
 This letter furnishes a number of indications of character, and is one 
 of much value to the graphologist. 
 
GKAPHOLOGY. 55 
 
 (40) If the upward stroke of the d (that is, the portion constituting 
 the upper part of the letter) is high in comparison with the other let- 
 ters (as high, for example, as the h's and l's) it shows pride and self- 
 respect. (Plate 9.) 
 
 But these traits must not be confounded with conceit and vanity, for, 
 on the contrary, such a writer is rarely conceited or vain. He is, in fact, 
 apt to be retiring and self-depreciative, but he has at all times a high 
 regard for his dignity and his self-respect. It is this sort of pride that 
 this feature denotes. - 
 
 (41) Where the upstroke is very short, as in plate 8, it indicates a 
 lack of self-respect. The writer is a person who does not permit his 
 sense of honor or his personal pride to stand in the way of attaining his 
 purposes. 
 
 (42) If the upstroke is curved instead of straight, as in plate 6, it is 
 a sign, generally, of intelligence and mental culture. This form of d is 
 commonly associated with persons of literary tastes or scholarly attain- 
 ments. It is very frequently a characteristic of the chirography of au- 
 thors and critics. 
 
 (43) When the d is made with a loop at the top of the upstroke, or 
 when the whole upper part of the letter consists of a loop instead of a 
 single stroke (see plate 13), it is an indication of great sensitiveness. 
 The pride of the writer is easily wounded. He takes offence at very 
 slight provocation. It requires but little to make him feel that he has 
 been insulted or wronged.* 
 
 An exaggeration of this sign, in which the loop is large and inflated, 
 shows extreme morbidness on the subject of personal pride. It is a 
 peculiarity often seen in the writing of lunatics, and whenever it is 
 

GRAPHOLOGY. 57 
 
 found it may be taken for granted that the writer is mentally morbid in 
 some respect, to a greater or less degree. 
 
 (44) When the loop forming the lower part of the letter is unclosed, 
 as in plate 11, it shows lack of self-restraint in the matter of expressing 
 opinions or retailing gossip. 
 
 (45) F. 
 
 (The following remarks apply also to the letters g, j, y and z.) 
 
 The significance of the letter lies in the manner in which the lower 
 part of the letter is formed. It is either a loop or a straight stroke. 
 
 (46) Where the lower part of the letter is made in the form of a loop, 
 according to the generally accepted conventional way of making this let- 
 ter (Plates 2, 4, 10, &c.), it indicates, broadly, fancy and imagination. 
 But unless the loop is long or large its significance is not of great value. 
 It is only when the loop is prominent by reason of its size that it may be 
 counted upon as an influencing indication., (Plate 7.) In that case it 
 shows cleverness, a lively imagination and a quick and vivid fancy. The 
 person who makes his f's, g's, j's, y's and z's with long, sweeping strokes 
 is fond of poetry, music or art — whatever appeals to the imagination.. 
 
 Where the loop is so long that it extends into and below the next line, 
 as in plate 2, it is a sign that the writer is inclined, also, to be romantic 
 and notional and to hold rather unconventional ideas on many subjects. 
 This peculiarity is found more frequently in feminine writing, and 
 when it occurs it may be taken for granted that the writer is fond of 
 novelty and originality. Whatever is odd or novel appeals to her at 
 once. She is a lover of fads, and her tastes are stylish and often ex- 
 travagant. She is not apt to be practical, nor is her judgment always 
 reliable. 
 
GRAPHOLOGY. 59 
 
 (47) Where the lower half of the letters f, g, j, y and z is made with 
 a single stroke, and not looped, as in the signature of Lord Wolseley 
 (plate 14) it shows conservatism of ideas; practical, methodical traits; 
 a good deal of firmness, will power and self-reliance. Fancy and imagin- 
 ation are held in check. 
 
 If the stroke is heavy and very decided, it indicates strong determina- 
 tion and obstinacy. 
 
 (48) I. 
 
 The manner of dotting the i determines the significance of this letter. 
 
 (49) Where the dot is placed some distance to the right of the letter 
 (see plate 3) it shows vivacity, impulsiveness, impatience, quickness. 
 
 (50) When the dot is directly over the i, or very nearly so (plate 4), 
 it is a sign of deliberation and carefulness, with a tendency to slowness. 
 This tendency becomes a reality and sometimes shows itself in the form 
 of procrastination when the dot is placed to the left of the i. (See the 
 word "grieves," plate 13.) 
 
 (51) P. 
 
 When the lower part of this letter is very long (see plates 7 and 8) 
 it is an indication of physical agility; a love of exercise, of athletics, 
 of out-door sports. If the lower portion of the letter is made in the 
 form of a loop (see plate 2), and is long, its significance, in addition 
 to the traits just named, is the same as that mentioned in connection 
 with the loop formation of the f , g, &c. 
 
GRAPHOLOGY. 61 
 
 (52) T. 
 
 Of all the letters this is the most comprehensive in its indications. It 
 is subject to a greater variety of significant formations than any other 
 letter of the alphabet ; and these differences consist almost wholly in the 
 
 manner of stroking the t. 
 
 (53) When the t is crossed with a firm, well-defined stroke, as in 
 plate 4, it is a sign of will power and of perseverance. The writer may 
 be regarded as a person of constancy and determination ; decided in his 
 purposes, and not easily dissuaded. 
 
 If the cross is large and bold (Plate 8) it indicates, also, assurance, 
 daring and boldness. 
 
 (54) Where the t is very weakly crossed or where there is a general 
 absence of the cross-stroke (Plates 5 and 10) it indicates a want of will 
 power. Such a person is not apt to be very steadfast in his aims or pur- 
 poses. He allows himself to be dissuaded ; he is vacillating, irresolute, 
 and lacks continuity of energy. He may, at the same time, be obsti- 
 nate and headstrong; yet he is wanting in determination, firmness and 
 perseverance. In a forward hand, this peculiarity indicates lack of self- 
 control. The writer's emotions or feelings are not readily held in 
 check. 
 
 (55) Where the stroke does not join the main stem, but is placed off 
 to the right (Plates 3 and 12), it shows quickness, impatience, temper, 
 impulsiveness. These traits are accentuated when the writing is decid- 
 edly angular. Such writers can not brook restraint or reproof. They 
 are retaliatory and quick-tempered., 
 
 (56) If the stroke does not cross the t, but remains on the left-hand 
 side of it (Plate 1), it is a certain sign of procrastination. The writer 
 
GRAPHOLOGY. 63 
 
 is rarely on time ; prefers waiting to doing ; defers till the morrow that 
 which should be done to-day, and can not ordinarily be depended upon 
 to perform a task or fill an engagement within a given time. 
 
 (57) When the cross has a downward slant (as in the words "unfor- 
 tunately" and "not," Plate 2), it is a sign of obstinacy. 
 
 (58) If the cross slopes upward it betokens a hopeful, ambitious dis- 
 position. 
 
 (59) When the cross stroke is placed above the letter (Plate 3) it 
 signifies absent-mindedness. 
 
 (60) .If the t is formed with a small hook on the left-hand side 
 (Plates 3 and 11), it is an indication of talkativeness and vivacity. 
 
 The final special feature to be considered is that which relates to the 
 manner of completing the final letter of a word. Some writers add a 
 finishing stroke or flourish to their letters and others cut them off short. 
 
 (60 TERMINAL STROKES. 
 
 Where the last letter of a word terminates with a stroke; that is, 
 where the finishing stroke of the letter is not cut off abruptly, but is car- 
 ried on so as to form a terminal flourish of greater or less extent (see 
 Plates 1 and 10), it indicates generosity and charitableness, as distin- 
 guished from parsimony. 
 
 (62) When the terminal strokes are very pronounced, as in plates 7 
 and .12, it signifies extravagance both of ideas and of material wealth. 
 Such a writer is fond of luxury and is naturally a spendthrift ; finding 
 it difficult to save or to content herself with anything but the best and 
 most costly. 
 
GRAPHOLOGY. 65 
 
 (63) When the terminal stroke ends with a little hook (Plate 7), it 
 betokens wilfulness and obstinacy. A downward slant of the terminal 
 stroke, as in plate 8, is also an indication of headstrong determination. 
 
 (64) ABSENCE OF TERMINAL STROKES. 
 
 (Plate 5.) 
 
 When the final letter of a word is terminated abruptly, it is an indi- 
 cation of closeness. Such a writer is saving, conservative and more or 
 less selfish. 
 
PART III. 
 
ANALYSIS OF HANDWRITING 
 
 Application of the Principles of Graphology to the Delineation 
 of Character from Handwriting 
 
 In the foregoing pages we have considered the various general and 
 special features of handwriting, with their corresponding personal 
 characteristics. 
 
 With these as a guide we are prepared now to undertake the delinea- 
 tion of a person's character as revealed in his penmanship. 
 
 The skill of the graphologist consists in his ability to dissect the hand- 
 writing and acquaint himself with its various constituent features and 
 then to give these features their respective values in accordance with 
 their relationship one to another. It must be borne in mind that one 
 feature may often alter the value or significance of another, so that the 
 specific indications given in the foregoing pages are all subject to modi- 
 fication according to their relations with other features in the same hand- 
 writing. 
 
 Then, too, it must be remembered that the examples given are based 
 upon certain definite features which we have taken as our guide or stand- 
 ard. These specimen features are, of course, subject to all degrees of 
 variation, and their indications vary accordingly. In some handwrit- 
 ings the features set forth here will be emphasized, exaggerated; in 
 which event the indications are correspondingly emphasized. Again, 
 features will be found that have only a tendency toward those given in 
 
GRAPHOLOGY. 71 
 
 the book, and in that case the indications are not so pronounced as in the 
 examples given. In other words, all features of handwriting are sub- 
 ject to modification according to their relation to the standards as given 
 in the foregoing examples and according to their relation to other fea- 
 tures. 
 
 The question of determining the extent of these modifications is a 
 more simple matter than might at first be supposed, as is also the ques- 
 tion of determining the effect of the presence of contradictory or incon- 
 sistent features in the same specimen of penmanship. Common sense 
 and the ability to put two and two together are all that are required, in 
 conjunction with a little practice, to enable anyone to arrive at correct 
 results. At any rate, it would be both useless and impracticable to classi- 
 fy the combinations that may occur in handwritings or to lay down de- 
 finite rules governing the modification of one feature by another. 
 
 The first and chief requisite is simply to pick out the salient features 
 of a handwriting. This will reveal at once the leading traits, the gen- 
 eral character, of the writer ; and the degree of minuteness to which the 
 delineation may be carried will depend upon the pains taken by the de- 
 lineator to study the combinations of the different features and work out 
 the results. 
 
 For the purpose of illustrating the manner of applying the principles 
 of graphology as set forth in the preceding pages, and as a demonstration 
 of the method of reading character from handwriting, an explanatory 
 delineation is here given of the personality represented by the style of 
 writing shown in plate 1. 
 
 Note: A detached copy of plate 1 accompanies the instructions, in 
 order that it may be removed for the purpose of enabling the student to 
 keep it conveniently before him while following the analysis and delin- 
 eation here given. 
 
DELINEATION OF CHARACTER 
 
 Represented in the Handwriting Shown in Plate 1 
 
 (The numbers in parentheses refer to the particular sections in Parts 
 I and II describing the features mentioned.) 
 
 Taking up the analysis in the order given in the preceding pages, we 
 find, first, the following general features : 
 
 Angular writing (l).v A Forward hand (3). The writing is with- 
 out shading and is comparatively fine (10). * It is carefully formed 
 (13). v The lines are straight (18)^ These constitute the salient gen- 
 eral features of this handwriting. 
 
 Considering now the special features, we find that there is a tendency 
 v to separate the letters (22) ; that the letters increase in size toward the 
 end of a word (23) ; that the capitals are very plainly made (26) ; that 
 v /the a's and o's are closed (33) ^that the f's, g's and y's are made with a 
 long loop (46) ; that for the most part the cross-stroke of the t re- 
 mains on the left-hand side of the letter (56)>^and that there are termin- 
 al strokes (61). 
 
 We have now completed the analysis of the handwriting before us, and 
 having in our possession its various characteristic features we proceed 
 to consider the personal qualities and peculiarities indicated by these 
 features. 
 
GRAPHOLOGY. 75 
 
 The angular form of writing, combined with a decided forward slope, 
 tells us that the writer is an active, energetic woman, governed very 
 largely by her feelings and affections. She exhibits these latter qualities 
 more frequently in action than in words, which we judge from the fact 
 that she closes her a's and o's and forms her letters carefully and dis- 
 tinctly. Were it not for these features she would be very demonstra- 
 tive and be inclined to give free verbal expression to her emotions ; but 
 these features exercise a restraining influence and confine her natural 
 impulsiveness and quickness within more serious and practical bounds. 
 In other words, she is self-contained; and self -containment in a nature 
 that is instinctively active and emotional must necessarily result in a 
 high-strung temperament ; so that we are safe in saying that the writer 
 is inclined to be nervous. 
 
 We find, also, that her natural impatience and quickness are restrain- 
 ed by her painstaking disposition (shown in the careful and precise for- 
 mation of the writing) and by her extreme conscientiousness (increasing 
 size of letters). So that while her impulse is always to push ahead rapid- 
 ly she is constantly held in check by these restraining qualities, which, 
 coupled with her perseverance (straight lines), impels her to do thor- 
 oughly and well whatever she undertakes, no matter how trifling it may 
 be or how tedious it may become. We may, therefore, say with certain- 
 ty that she has a nervous, worrying disposition as the result of these con- 
 flicting qualities in her character. 
 
 Passing on to a more direct and definite delineation, we see that she is 
 energetic; that she is fond of doing; that she is always engaged upon 
 some work or the planning of work. This is shown by the angular and 
 forward writing. 
 
 Her manner of stroking the t's shows her to be procrastinating. This 
 feature of her character, however, is largely offset by her conscientious- 
 
GRAPHOLOGY. 77 
 
 ness, which will not permit her to fail to keep an engagement on time 
 or perform a promised task within the specified period ; but in matters 
 concerning only her own comfort or convenience she is apt to procras- 
 tinate ; that is, she will put off from time to time the work she has plan- 
 ned to do. 
 
 Judging alone from her rare conscientiousness we are certain that she 
 is thoroughly honest, sincere and truthful, straightforward and trust- 
 worthy. She would never wilfully deceive or break a promise. She has 
 a high sense of duty and of loyalty, and is extremely particular in 
 the matter of obligations. She is a true and constant friend; always 
 to be relied upon, not only for her loyalty but for her confidence, as 
 she never betrays a secret nor repeats unkind gossip. She is, therefore, 
 a woman who makes many warm friends. She is always frank, ingen- 
 uous and sincere ; yet never blunt nor impulsively outspoken, for her 
 natural delicacy and sympathy (combined with an instinctive reticence, 
 as shown by the closed a's and o's) temper her expressions of opinion 
 with thoughtfulness and tact, so that she is at no time guilty of wound- 
 ing the feelings of others by impetuous or inconsiderate remarks. 
 
 She is intuitive (separation of letters), though her sense of the prac- 
 tical does not allow her to be governed very largely by mere intuition or 
 impulse. This intuitive faculty, however, gives her quick perceptions 
 and a ready comprehension ; it enables her to make up her mind quickly, 
 so that she is rarely at a loss how to act in case of an emergency. In 
 conjunction with her practical nature it gives her ingenuity ; ability to 
 devise and plan. 
 
 While she is practical (careful and precise formation of writing), 
 she is at the same time artistic and gifted with a ready fancy and a love 
 for the arts, as indicated by the long loops of the f's, g's, &c. Combin- 
 ing the practical with the artistic we have a person of talent, and one 
 
GRAPHOLOGY. 79 
 
 who puts the arts to practical, sensible use. Hence we may say that the 
 writer is accomplished in music or in art or in literature ; but while her 
 work in any of these branches would be delicate and sympathetic, it 
 would never be highly imaginative nor strikingly original. The com- 
 bined qualities of the artistic and the practical make her a very capable 
 woman, but she is too painstaking, too conscientious, too careful in the 
 following of rules, ever to be very brilliant. Nevertheless she is ex- 
 tremely versatile, and whatever she does she does well and with thorough- 
 ness. There is little she can not do and will not do if she so desires. 
 
 Her practical and conscientious qualities make her systematic and 
 methodical. She is not careless nor slipshod. She is exact and precise 
 in her statements and is inclined to enter into unimportant details when 
 making explanations or narrating a circumstance. She is careful, also, 
 to follow minutely the prescribed rules or directions when performing 
 an allotted task. 
 
 She has a very affectionate nature (decided forward hand), but is 
 never demonstrative. She is capable of very intense emotion, but 
 through her habit of self-restraint she gives but moderate expression to 
 her feelings. She is generous (terminal strokes), charitable and sym- 
 pathetic ; unselfish and self-sacrificing in her love and duties. 
 
 But though she is generous and ever ready to assist others she is 
 never extravagant nor unreasonable in her charities. Her thriftiness 
 and sense of economy (careful, neat writing) prevent this. 
 
 She is without conceit or pride. Her tastes are plain, quiet and unex- 
 travagant (shown in the general simplicity and unaffected style of her 
 writing). 
 
 She is inclined to take life seriously and earnestly. At the same 
 time she has a hearty appreciation of pleasure and enjoyment ; for her 
 sympathies, her affections, her sentiment give to life a glow and color 
 that relieve it of the austerity of a purely practical nature. 
 
GRAPHOLOGY. 
 
 81 
 
 Plate 1. 
 
 
 sUUtAlt'i 
 
 * — v^ 
 
 1/ /3^/ffrr^* 
 
 For Analysis of Handwriting shown in Plate 1, see page 73. 
 
graphology. 
 Plate 2. 
 
 83 
 
 
 f 
 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 2. 
 
 (The numbers in parentheses refer to the sections describing the features men- 
 tioned.) 
 
 Rounded hand (2). Forward hand (3). Shaded writing (9). Diffuse writing 
 (17). Downward tendency of the lines (20). United words (21), with discon- 
 nected letters (22). Decreasing size of letters (24). Plain capitals (26). Closed 
 a's and o's (33). Large and long loops of f, g, y, &c. (46). Long lower portion 
 of letter p (51). Letter t crossed with firm stroke (53). Occasional downward 
 crossing of the t (57). Pronounced terminal strokes (62). Terminal hooks (63). 
 
GRAPHOLOGY. 
 
 85 
 
 Plate 3. 
 
 {y J<2^<&-^ 
 
 d£Lz^<L~42>& 
 
 
 
 CZ^z^tZ^ <^2^£' 
 
 
 ^^—Sf^z^^^ 
 
 '2^z-^£''~~*~ 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 3. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Combination of Angular and Rounded hand (1 and 2). Forward hand (3). Fine writing (10). 
 Hasty and indistinct writing (15). Straight lines (18). Occasional disconnected letters (22). Plain 
 capitals (26). Open a's and o's (34). Initial hook on letter b (37). Dot of the i placed off to the 
 right of the letter (49). Long lower portion of letter p (51). Occasional failure to cross the t (54). 
 Cross stroke of the t placed off to the right (55). Cross strokes also placed above the letter (59). 
 Initial hook on letter t (60). Terminal strokes to words (61). 
 
graphology. 87 
 
 Plate 4. 
 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 4. 
 
 (The numbers in parentheses refer to the sections describing the 
 features mentioned.) 
 
 Rounded hand (2). Vertical hand (4). Fine writing (10). Un- 
 affected writing (12). Letters carefully and distinctly formed (13). 
 Lines have a slight downward tendency (20). Connected letters 
 (21). Plain capitals (26). High initial stroke of capitals M and N 
 (30). Closed a's and o's (33). Dot of i placed near the letter (50). 
 Letter t crossed with well defined stroke (53). Terminal strokes 
 (61). 
 
GRAPHOLOGY. 
 
 89 
 
 Plate 5. 
 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 5. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Rounded hand (2). Back hand (5). Comparatively small writing (6). Shaded writing (9). 
 Neat, uniform writing (13). Lines have a downward tendency (20). Connected letters (21). Plain 
 capitals (26). Letters a and o tightly closed with loop (33). Lower portion of f, g, &c, formed 
 occasionally without loop (47). Dot of i placed near letter (50). Letter t not crossed (54). Absence 
 of terminal strokes (64). 
 
GRAPHOLOGY. 
 
 91 
 
 Plate 6. 
 
 ^p^> 
 
 #-a--*^t o-vO •««-^» 
 
 ^ £^C4- 
 
 :>^ i-^rcL* 
 
 A^^o — 
 
 *- 
 
 ftz> 
 
 ' V 
 
 e^yo-f* <rn^C4 c«^J l^r^Hs**' *~^"C*s**>^-<*-*^aJ 
 "JjU X^££ZV* ty^Lt^t ^C^iL, & 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 6. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Rounded hand (2). Forward hand (3). Small writing (6). Neat, uniform writing (13). 
 Straight lines (18). United words (21), and disconnected letters (22). Very plain capital* 
 (26). Closed a's and o's (33). Letter b formed with single stroke (38). Upstroke of letter 
 d curved (42). General absence of loop on letters f, g, y, &c. (47). Letter t crossed with 
 firm stroke (53). General absence of terminal strokes (64). 
 
GRAPHOLOGY. 
 
 Plate 7. 
 
 93 
 
 
 'q/icM— 4M_ ffuiLJmt 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 7. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Angular hand (1). Forward hand (3). Large writing (7). Shaded writing (9). Diffuse writing 
 (IT). Lines have an upward tendency (19). Disconnected letters (22). Showy Capitals (27). Initial 
 stroke of capitals cuts across body of letters (29). Letters a and o have tendency to remain open 
 (34). Initial stroke of letter b cuts across body of letter (36). Long lower portion of letter p (51). 
 Cross stroke of t placed to right of letter (55). Initial hook on letter t (60). Pronounced terminal 
 strokes (62). Terminal hooks (63). 
 
GRAPHOLOGY. 
 
 95 
 
 Plate 8. 
 
 _jM yix^SrMU^ 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 8. 
 
 (Numbers in parentheses refer to sections describing the features mentioned.) 
 
 Rounded hand (2). Forward hand (3). Large writing (7). Heavy writing (8). Straight 
 lines (18). Connected letters and words (21). Letters a and o tightly closed (33). Letter d 
 formed with short upstroke (41). Long lower portion of letter p (51). Letter t crossed with 
 large, firm stroke (53). Pronounced terminal strokes (62). Terminal hooks and downward 
 slope of terminal strokes (63). 
 
GRAPHOLOGY. 
 
 97 
 
 ^t^> ^&cn-, 
 
 Plate 9. 
 
 ^e&^>^^ ^Vt^^^y^ \^^ 
 
 ^>/€i /&/ 
 
 
 ^^E^^e^-- 
 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 9. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Rounded hand (2), with angular modifications (1). Forward hand (3). Fine writing (10). 
 Unaffected writing (12). Careless writing (14). Diffuse writing (17). Lines have a downward ten- 
 dency (18). Connected letters (21). Increasing size of letters (23). Plain capitals (26). Open a's 
 and o's (34). Letter d formed with high upstroke (40). Letters f, g, y, &c, formed with long loops 
 (45). Letter t crossed with well defined stroke (53). Terminal strokes (61). 
 
GRAPHOLOGY. 
 
 99 
 
 Plate 10. 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 10. 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 Rounded hand (2). Forward hand (3). Large writing (7). Shaded writing (9). Conventional 
 
 writing (11). 
 ietter t (54). 
 
 Straight lines (18). Connected letters (21). 
 Terminal strokes (61). 
 
 Closed a's and o's (33). Failure to stroke 
 
 LofC. 
 
GRAPHOLOGY. 
 
 101 
 
 Plate 11. 
 
 tJJ2 
 
 
 (l^^A^- 
 
 ^—7 &-~~~1^l U ~ 
 
 &£*- — 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 11. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Combination of Angular and Rounded hand (1 and 2). Forward hand (3). Shaded 
 writing (9). Hasty and indistinct writing (15). Diffuse writing (17). Ascending lines 
 (19). Disconnected letters (22). Decreasing size of letters (24). Open a's and o's (34). 
 Initial hook on letter b (38). Loop of letter d unclosed (44). Letters f, g, y, &c, formed 
 with long loops (46). Long lower portion of letter p (51). Cross stroke of t large and 
 firm (53). Stroke occasionally placed to the right of t (55). Initial hook on letter t (60). 
 Pronounced terminal strokes (62). 
 
graphology. 
 Plate 12. 
 
 103 
 
 A4444<to**fc& 
 
 
 f /fcrffle-Z- *£hA— 
 
 12 
 
 ANALYSIS OF HANDWRITING SHOWN IN PLATE 12. 
 (The numbers in parentheses refer to the sections describing the 
 features mentioned.) 
 
 Angular hand (1), with an occasional tendency to Rounded- 
 hand formations (2). Forward hand (3). Large writing (7). 
 Heavy writing (8). Diffuse writing (17). Straight lines (18). 
 Disconnected letters (22). Decreasing size of letters (24). Initial 
 stroke of capitals cuts across body of letter (29). Closed a's and 
 o's (33). Letter d formed with short upstroke (41). Letters f, g, 
 y, &c, formed wfth heavy lower strokes (47). Dot of i close to 
 letter (50). Cross stroke of t placed to right of letter (55). Pro 
 nounced terminal strokes (62). 
 
GRAPHOLOGY. 
 
 105 
 
 Plate 13. 
 
 
 ANALYSIS OF HANDWRITING SHOWN ON PLATE 13. 
 
 (The numbers in parentheses refer to the sections describing the features mentioned.) 
 
 Rounded hand (2). Forward hand (3). Careless and uneven writing (14). Hasty 
 writing (15). Crowded writing (16). Straggling words (17). Descending lines (20). Con- 
 nected letters (21). Closed a's and o's (33). Upper part of letter d made in form of loop 
 (43). Dot of i placed to left of letter (50). Weak crossing of letter t (54). A suggestion 
 of terminal strokes (61). . 
 
gbaphology. 107 
 
 Plate 14. 
 
 J-tewU/ W. d^Oy^ML 
 
 o-uJ 
 
 faUtt forzr*//t*t<j 
 
 Cr~? 
 
 14 
 
 
 ANALYSIS OF SIGNATURES SHOWN IN PLATE 14. 
 (The numbers in parentheses refer to the sections describing the 
 
 features mentioned.) 
 
 Longfellow's signature: Rounded hand (2). Vertical hand (4). 
 Unaffected writing (12). Disconnected letters (22). Plain capitals 
 (26). Letters f and y formed without loop (47). 
 
 Browning's signature: Angular hand (1). Forward hand (3). 
 Small writing (6). Increasing size of letters (23). Small capitals 
 (26). Open a's and o's (34). Letter g made without loop (47). 
 
 0*ar Wilde's signature: Rounded hand (2). Combination of 
 Forward and Vertical hand (3 and 4). Straggling formation of 
 words (14, second paragraph). Diffuse writing (17, second para- 
 graph). Marked separation of letters (22). Small capitals (26). 
 
 Lord Wolseley's signature: Rounded hand (2). Forward hand 
 (3). Heavy writing (8). Neat, uniform writing (13). Connected 
 letters (21). Increasing size of letters (23). Initial stroke of cap- 
 ital cuts across body of letter (29). Letter f made without loop, 
 and stroke heavily made (47). 
 
INDEX 
 
 TO PERSONAL CHARACTERISTICS 
 
 (References are to sections, Parts I and II.) 
 
 A. 
 
 Ability, 5 
 
 Absent-mindedness, 59 
 
 Activity, 1, 51 
 
 Aeuteness (mental), . 1 
 
 Affection, 3 
 
 Affectation, 9, 11, 28 
 
 Lack of, 10 
 
 Aggressiveness, 1, 8 
 
 Agility, . . . . , 51 
 
 Ambition, 19, 30 
 
 Lack of, 20 
 
 Animation, 3, 7 
 
 Ardor, 7 
 
 Argumentativeness, 21 
 
 Artfulness, 5, 15 
 
 Assurance, ..... . . . . 8, 53 
 
 B. 
 
 Benevolence, 2 
 
 Boastfulness, 8 
 
 Boldness, j 8, 53 
 
110 GRAPHOLOGY. 
 
 C. 
 
 Calmness, . . . 4 
 
 Carefulness, ... . 13, 21 
 
 Carelessness, . ....... 14, 17 
 
 Charity ........ 3, 61 
 
 Cleverness, ..... .... 46 
 
 Coarseness, 8 
 
 Communicativeness, ....... 34, 44 
 
 Conceit, 8, 11, 29, 36 
 
 Concentration, . . 6 
 
 Lack of 7 
 
 Conciseness, 33 
 
 Conscientiousness, . . 23 
 
 Conservatism, ... . . . . . . 47, 64 
 
 Constancy, 4, 53 
 
 Critical disposition, 22 
 
 Culture, 6, 10, 42 
 
 Lack of, 8, 28 
 
 Cunning, . 6, 24 
 
 D. 
 
 Daring, . 53 
 
 Deceitfulness, . . ... . . . . 8, 15 
 
 Decision, 53 
 
 Deliberation, 4, 50 
 
 Delicacy, . . . 10 
 
 Lack of, ........ . 8 
 
 Demonstrativeness, ........ 3 
 
GRAPHOLOGY. Ill 
 
 Determination, . ...... 47, 53 
 
 Diplomacy, . . . . ... . . . 6, 15, 21 
 
 Discretion, . 33 
 
 Dissimulation, . ... . .... . 15 
 
 Domineering disposition, 8 
 
 E. 
 
 Economical disposition, 13 
 
 Egotism (see Conceit), ... . . . . 7, 9, 29 
 
 Emphatic disposition, 1 
 
 Energy, 1 
 
 Emotions (susceptibility to ), 3 
 
 Enthusiasm, ..... . . . 3, 7 
 
 Lack of , ..... 5 
 
 Exacting disposition, 8 
 
 Executive ability, 5, 6, 9, 13 
 
 Extravagance, . . . 17, 46, 62 
 
 F. 
 
 Eancy, 46 
 
 Einesse, 15 
 
 Firmness, ........ . 18, 47 
 
 Frankness, 12 34 
 
 Lack of, 24, 33 
 
 G. 
 
 Generosity, . . . ..... 3, 17, 61 
 
112 GRAPHOLOGY. 
 
 H. 
 
 Hastiness, . . . . 15, 17 
 
 Honesty, . 12, 23 
 
 Hopefulness, . 19, 58 
 
 Lack of, 20 
 
 I. 
 
 Idealism, 22 
 
 Imagination, 22, 46 
 
 Impatience, 15, 49, 55 
 
 Impulsiveness, 3, 49 
 
 Insight, 22 
 
 Insincerity, 5, 24 
 
 Insistence, . f) 
 
 Intellectuality, . 6, 42 
 
 Integrity, 12,23 
 
 Intuition, 22 
 
 J. 
 
 Judgment, .... .... . . 4, 21 
 
 Lack of, 14 
 
 K. 
 
 Kind-heartedness, 2 
 
 L. 
 
 Literary tastes, 6, 42 
 
 Loving nature, . . 2, 3 
 
 Luxurious tastes, .... ... . . 9, 63 
 
 Laziness, ....... .... 2 
 
GRAPHOLOGY. 113 
 
 M. 
 
 Methodical disposition, . 6, 13, 18 
 
 Modesty, . 12, 26 
 
 Morbidness, 20,43 
 
 N. 
 
 Neatness, ..... ..... . 6, 13 
 
 Nervous temperament, . 1 
 
 O. 
 
 Observation, ... 22 
 
 Obstinacy, 47, 57, 63 
 
 Opinionatedness, . \ 11, 21 
 
 Originality, . 6 
 
 Ostentation, .... ...... 27 
 
 P. 
 
 Parsimony, 16 
 
 Passiveness, . . 2 
 
 Patience, . • . . 6, 1 3 
 
 Peacefulness, . . 2 
 
 Perseverance, . . . . . . . . 18, 53 
 
 Lack of, .... . . 20, 54 
 
 Pessimistic disposition, .... ... 20 
 
 Poetic tastes, . . ..... . 22 
 
 Positiveness, ..... .... 1 
 
 Practical disposition, 1, 4, 13, 18, 21, 38, 47 
 
 Lack of, 15, 19, 46 
 
 Preciseness, ... .... ... 1 
 
 Precision, 13 
 
114 
 
 GRAPHOLOGY. 
 
 Prevarication, ... . . . ... 24 
 
 Pride, 27 
 
 Procrastination, ........ 50, 56 
 
 Prudence, 13 
 
 Lack of, . 17 
 
 Psychic qualities, . 22 
 
 Q. 
 
 Quickness, .1,15,49,55 
 
 Quietness, 4, 10 
 
 K. 
 
 Reason, . 5, 21 
 
 Refinement, . . ... . . . . 10, 26 
 
 Lack of, 3 
 
 Reliability, . 12, 23 
 
 Lack of, .... . .... 21 
 
 Reserve, 6, 33 
 
 Lack of, .... . ... 34 
 
 Resolution, ..'.... . . ... 53 
 
 Lack of, . 51 
 
 Restfulness, ......... 2 
 
 Restlessness, ..... .... 1 
 
 Reticence, ... 33 
 
 Revengefulness, . . . . . . . . . 8, 55 
 
 Romantic disposition, . . . . . . 22, 46 
 
 Roughness, . ........ 8 
 
 S. 
 
 Secretiveness, . ... . . ... 16, 33 
 
 Self-consciousness, ........ 5 
 
GRAPHOLOGY. 11 
 
 Self-containment, . . 6 
 
 Lack of, 7, 14 
 
 Selfishness, . . . . . 7, 8, 16, 24 
 
 Self-reliance, . . . . . . . 5, 47 
 
 Self-respect, 40 
 
 Lack of, . 41 
 
 Self-restraint, .... .... . . 4, 6 
 
 Lack of, . . . . . . . . 14,34,44 
 
 Self-sacrifice, .... ... . . 3 
 
 Sensitiveness, . ........ 43 
 
 Sentiment (susceptibility to), 3 
 
 Simplicity, 4,10,12,26 
 
 Sincerity, . ... 12, 23 
 
 Slovenliness, .... ..... 17 
 
 Slowness, . 4, 50, 56 
 
 Suspiciousness, . . . . .. . . . 6, 16, 20 
 
 Sympathy, . .... . . .^ . 3 
 
 Systematic disposition, .... . . >v 13, 18 
 
 T. 
 
 Tactfulness, 13, 33 
 
 Lack of, 7, 34 
 
 Talkativeness, 37, 60 
 
 Taste (good), . 6, 26 
 
 Temper, ..... ..... 55 
 
 Temperate tastes, . 10 
 
 Tenderness, . .*.... ... 10 
 
 Thriftiness, . ... .... 13 
 
 Truthfulness, 12, 23 
 
 Trustworthiness, 12 
 
116 GEAPHOLOGY. 
 
 V. 
 
 Vacillation, 14, 54 
 
 Vanity, 7, 27 
 
 Vivacity, 15, 49, 55, 60 
 
 W. 
 
 Wilfulness, . 63 
 
 Will-power, 47, 53 
 
 Lack of, . . . 54 
 
 Worrying disposition, 16, 20 
 
GRAPHOLOGY 
 
 OR 
 
 How to Read Character from Handwriting 
 
 SIMON ARKE 
 
 American Institute of Graphology 
 
 305 Lenman Building 
 
 Washington, D. C. 
 

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